highestgrossingmoviesfandomcom-20200214-history
Of All
Films generate income from several revenue streams including theatrical exhibition, home video, television broadcast rights and merchandising. However, theatrical box office earnings are the primary metric for trade publications (such as Box Office Mojo and Variety) in assessing the success of a film, mostly due to the availability of the data compared to sales figures for home video and broadcast rights, and also due to historical practice. Included on the list are charts of the top box-office earners (ranked by both the nominal and real value of their revenue), a chart of high-grossing films by calendar year, a timeline showing the transition of the highest-grossing film record, and a chart of the highest-grossing film franchises and series. All charts are ranked by international theatrical box office performance where possible, excluding income derived from home video, broadcasting rights and merchandise. Traditionally, war films, musicals and historical dramas have been the most popular genres, but franchise films have been the best performers in the 21st century. All of the films from the Harry Potter franchise and [[In The Sky|Peter Jackson's Middle-Earth series]] are included in the nominal earnings chart, while the Transformers and Pirates of the Caribbean franchises both feature prominently. There has also been new interest in the superhero genre; Superman and Batman from DC Comics and films based on the Marvel Comics brand such as Spider-Man, X-Men and films in the Marvel Cinematic Universe have all done particularly well. The only films in the top ten that do not form a franchise are the top two, Avatar and Titanic, both directed by James Cameron, and Disney's Frozen. Animated family films have performed consistently well, with Disney films enjoying lucrative re-releases prior to the home video era. Disney also enjoyed later success with its Pixar brand, of which the Toy Story films and Finding Nemo have been the best performers; beyond Pixar animation, the Shrek, Ice Age, Madagascar and Despicable Me series have met with the most success. While inflation has eroded away the achievements of most films from the 1960s and 1970s, there are franchises originating from that period that are still active. Besides Superman, James Bond and Star Trek films are still being released periodically, while the Star Wars saga and Planet of the Apes were reprised after a lengthy hiatus; Indiana Jones also saw a successful comeback after lying dormant for nearly twenty years. All six are still among the highest-grossing franchises, despite starting over thirty years ago. Some of the older films that held the record of highest-grossing film still have respectable grosses even by today's standards, but do not really compete against today's top-earners: Gone with the Wind for instance—which was the highest-grossing film for twenty-five years—does not even make the top fifty in the modern market, but, adjusted for inflation, it would still be the highest-grossing film. All grosses on the list are expressed in US dollars at their nominal value, except where stated otherwise. Highest-grossing films With a worldwide box-office gross of about $2.8 billion, Avatar is often proclaimed to be the "highest-grossing" film, but such claims usually refer to theatrical revenues only and do not take account of home video and television income, which can form a significant portion of a film's earnings. Once revenue from home entertainment is factored in it is not immediately clear which film is the most successful. Titanic earned $1.2 billion from video and DVD sales and rentals, in addition to the $2.2 billion it grossed in theaters. While complete sales data are not available for Avatar, it earned $345 million from the sale of sixteen million DVD and Blu-ray units in North America, and ultimately sold a total of thirty million DVD and Blu-ray units worldwide. After home video income is accounted for, both films have earned over $3 billion. Television Broadcasting rights will also substantially add to a film's earnings, with a film often earning as much as 20–25% of its theatrical box-office for a couple of television runs on top of pay-per-view revenues; Titanic earned a further $55 million from the NBC and HBO broadcast rights, equating to about 9% of its North American gross. When a film is highly exploitable as a commercial property, its ancillary revenues from merchandising can dwarf its income from direct film sales. Pixar's Cars earned $461 million in theatrical revenues —which was only a modest hit by comparison to other Pixar films —but generated global merchandise sales of over $8 billion in the five years after its 2006 release, the most revenue ever generated by a single film. Only the revenues from theatrical exhibition at their nominal value are included here, which sees Avatar rank in the top position. Nineteen films in total have grossed in excess of $1 billion worldwide. The films on this chart have all had a theatrical run (including re-releases) since 1996, and films that have not played since then do not appear on the chart due to ticket-price inflation, population size and ticket purchasing trends not being considered. : |Saturday=1 |Sunday=2 |Monday=3 |Tuesday=4 |Wednesday=5 |Thursday=6 |0}}}}.|text= }} |47 ! align="left" | ''E.T. the Extra-Terrestrial | align="right" | $792,910,554 | style="text-align:center;" | 1982 | style="text-align:center;" | |- |48 !align="left" | Fast & Furious 6 | align="right" | $788,679,850 | style="text-align:center;" | 2013 | style="text-align:center;" | |- |50 !align="left" | Interstellar | align="right" | $787,546,054 | style="text-align:center;" | 2014 | style="text-align:center;" | |- |49 !align="left" | Indiana Jones and the Kingdom of the Crystal Skull | align="right" | $786,636,033 | style="text-align:center;" | 2008 | style="text-align:center;" | |- Highest-grossing films adjusted for inflation Due to the long-term effects of inflation, notably the significant increase of movie theater ticket prices, the list unadjusted for inflation gives far more weight to later films. The unadjusted list, while commonly found in the press, is therefore largely meaningless for comparing films widely separated in time, as many films from earlier eras will never appear on a modern unadjusted list, despite achieving higher commercial success when adjusted for price increases. To compensate for the devaluation of the currency, some charts make adjustments for inflation, but not even this practise fully addresses the issue since ticket prices and inflation do not necessarily parallel one another. For example, in 1970 tickets cost $1.55 or about $6.68 in inflation-adjusted 2004 dollars; by 1980, prices had risen to about $2.69, a drop to $5.50 in inflation-adjusted 2004 dollars. Ticket prices have also risen at different rates of inflation around the world, further complicating the process of adjusting worldwide grosses. Another complication is release in multiple formats for which different ticket prices are charged. One notable example of this phenomenon is Avatar, which was also released in 3D and IMAX: almost two-thirds of tickets for that film were for 3D showings with an average price of $10, and about one-sixth were for IMAX showings with an average price over $14.50, compared to a 2010 average price of $7.61 for 2D films. Social and economic factors such as population change and the growth of international markets also impact on the number of people purchasing theater tickets, along with audience demographics where some films sell a much higher proportion of discounted children's tickets, or perform better in big cities where tickets cost more. The measuring system for gauging a film's success is based on unadjusted grosses, mainly because historically this is the way it has always been done due to the practices of the film industry: the box office receipts are compiled by theaters and relayed to the distributor, which in turn releases them to the media. Converting to a more representative system that counts ticket sales rather than gross is also fraught with problems due to the fact that the only data available for older films are the sale totals. As the motion picture industry is highly oriented towards marketing currently released films, unadjusted figures are always used in marketing campaigns so that new blockbuster films can much more easily achieve a high sales ranking, and thus be promoted as a "top film of all time", so there is little incentive to switch to a more robust analysis from a marketing or even newsworthy point of view. Despite the inherent difficulties in accounting for inflation, several attempts have been made. Estimates depend on the price index used to adjust the grosses, and the exchange rates used to convert between currencies can also impact upon the calculations, both of which can have an effect on the ultimate rankings of an inflation adjusted list. Gone with the Wind—first released in 1939—is generally considered to be the most successful film, with Guinness World Records in 2011 estimating its adjusted global gross at $3.3 billion. Estimates for Gone with the Wind s adjusted gross have varied substantially: its owner, Turner Entertainment, also estimated its adjusted earnings at $3.3 billion in 2007, a few years earlier than the Guinness estimate; other estimates fall either side of this amount, with one putting its gross just under $3 billion in 2010, while another provided an alternative figure of about $3.8 billion in 2006. Which film is Gone with the Wind ''s nearest rival depends on the set of figures used: ''Guinness have Avatar in second place with nearly $2.8 billion, while other estimates see Titanic in the runner-up spot with first-run worldwide earnings of almost $2.9 billion at 2010 prices. Including the Guinness figures, estimates for Star Wars (1977) range from $2.2–2.7 billion at 2010/11 price levels, while E.T. the Extra-Terrestrial has earned approximately $1.9–2.2 billion, and the $1.9–2.0 billion figure for Jaws is corroborated by The Economist. }} High-grossing films by year Glossary: Distributor rentals | quote = Box-office figures are reported in the form of gross or distributor rentals, the latter being especially true of older films. Commonly mistaken for home video revenue, the rentals are the distributor's share of the film's theatrical revenue i.e. the box office gross less the exhibitor's cut. Historically, the rental price averaged at 35–40% when the distributors owned the theater chains, equating to just over a third of the gross being paid to the distributor of the film. In the modern marketplace, rental fees can vary greatly—depending on a number of factors—although the films from the major studios average out at 43%. | align = right | salign = right | width = 20em; | bgcolor = #F0EAD6;}} Audience tastes were fairly eclectic during the 20th century, but several trends did emerge. During the silent era, films with war themes were popular with audiences, with The Birth of a Nation (American Civil War), The Four Horsemen of the Apocalypse, The Big Parade and Wings (all World War I) becoming the most successful films in their respective years of release, with the trend coming to an end with All Quiet on the Western Front in 1930. With the advent of sound in 1927, the musical—the genre best placed to showcase the new technology—took over as the most popular type of film with audiences, with 1928 and 1929 both being topped by musical films. The genre continued to perform strongly in the 1930s, but the outbreak of World War II saw war themed films dominate again during this period, starting with Gone with the Wind (American Civil War) in 1939, and finishing with The Best Years of Our Lives (World War II) in 1946. Samson and Delilah (1949) saw the beginning of a trend of increasingly expensive historical dramas set during Ancient Rome/biblical times throughout the 1950s as cinema competed with television for audiences, with Quo Vadis, The Robe, The Ten Commandments, Ben-Hur and Spartacus all becoming the highest-grossing film of the year during initial release, before the genre started to wane after several high-profile failures. The success of White Christmas and South Pacific in the 1950s foreshadowed the comeback of the musical in the 1960s with West Side Story, Mary Poppins, My Fair Lady, The Sound of Music and Funny Girl all among the top films of the decade. The 1970s saw a shift in audience tastes to high concept films, with six such films made by either George Lucas or Steven Spielberg topping the chart during the 1980s. The 21st century has seen an increasing dependence on franchises and adaptations, with Avatar in 2009 being the only chart-topper forming an original work. Steven Spielberg is the most represented director on the chart with six films to his credit, occupying the top spot in 1975, 1981, 1982, 1984, 1989 and 1993. Cecil B. DeMille (1932, 1947, 1949, 1952 and 1956) and William Wyler (1942, 1946, 1959 and 1968) are in second and third place with five and four films respectively, while D. W. Griffith (1915, 1916 and 1920), George Roy Hill (1966, 1969 and 1973) and James Cameron (1991, 1997 and 2009) all feature heavily with three films apiece. George Lucas directed two chart-toppers in 1977 and 1999, but also served in a strong creative capacity as a producer and writer in 1980, 1981, 1983, 1984 and 1989 as well. The following directors have also all directed two films on the chart: Frank Lloyd, King Vidor, Frank Capra, Michael Curtiz, Leo McCarey, Alfred Hitchcock, David Lean, Stanley Kubrick, Guy Hamilton, Mike Nichols, William Friedkin, Peter Jackson and Gore Verbinski; Mervyn LeRoy, Ken Annakin and Robert Wise are each represented by one solo credit and one shared credit, and John Ford co-directed two films. Disney films are usually co-directed and some directors have served on several winning teams: Wilfred Jackson, Hamilton Luske, Clyde Geronimi, David Hand, Ben Sharpsteen, Wolfgang Reitherman and Bill Roberts have all co-directed at least two films on the list. Only five directors have topped the chart in consecutive years: McCarey (1944 and 1945), Nichols (1966 and 1967), Spielberg (1981 and 1982), Jackson (2002 and 2003) and Verbinski (2006 and 2007). Due to release schedules—especially in the case of films released towards the end of the year—and different release patterns across the world, many films can do business in two or more calendar years; therefore the grosses documented here are not confined to just the year of release. Grosses are not limited to original theatrical runs either, with many older films often being re-released periodically so the figures represent all the business a film has done since its original release; a film's first-run gross is included in brackets after the total if known. In the cases where estimates conflict both films are recorded, and in cases where a film has moved into first place due to being re-released the previous record-holder is also retained. Due to incomplete data it cannot be known for sure how much money some films have made and when they made it, but generally the chart chronicles the films from each year that went on to earn the most. At least one film every year has generated $100 million in gross revenue at the box office since 1967, and from 2008 each year has succeeded in producing a billion dollar grossing film. : |Saturday=1 |Sunday=2 |Monday=3 |Tuesday=4 |Wednesday=5 |Thursday=6 |0}}}}.|text= }} * * * However, it is possible this figure has been mistaken for the gross of the 1954 remake which also earned $8,000,000 in North American rentals.}} * However, no contemporary sources provide figures for Aloma of the South Seas, so it is unclear what the $3 million figure relates to. If it were the rental gross then that would have made it not only the highest-grossing film of the year, but one of the highest-grossing films of the silent era, and if that is the case it would be unusual for both International Motion Picture Almanac and Variety to omit it from their lists.}} * which may suggest the higher figure is the worldwide rental, given the confusion over international figures during this period.}} * * s $418 million global cume omits earnings outside of North America from 1987 onwards.}} * . "For similar reasons of accountability, Variety has typically used figures for domestic (U.S. and Canadian) rather than worldwide revenue. This became its standard policy in 1940, when the advent of war in Europe persuaded the American film industry (temporarily, as it turned out) that it should be wholly reliant on the home market for profitability. Where specific rentals data are reported in Variety before this (which tended to be only sporadically) they were often for worldwide rather domestic performance. This was also the case with other trade sources, such as Quigley s annual Motion Picture Almanac, which published its own all-time hits lists from the early 1930s onward. The subsequent confusion of domestic and worldwide figures, and of rental and box-office figures, has plagued many published accounts of Hollywood history (sometimes including those in Variety itself), and we have attempted to be diligant in clarifying the differences between them." In keeping with this new approach, the North American rental for Gone with the Wind was revised to $21 million in 1947 ($11 million lower than the previous figure), and as of 1953—following the 1947 re-release—''Variety'' was reporting earnings of $26 million. Through 1956, MGM reported cumulative North American earnings of $30,015,000 and foreign earnings of $18,964,000, from three releases. . "Domestic Rentals: $30,015,000 (61%); Foreign Rentals: $18,964,000 (39%)...Gone with the Wind includes initial release plus four rereleases (1941,1942,1947 and 1954) since foreign rental revenues were available only cumulative through 1956." Worldwide rentals of $32 million from the initial release is consistent with the revised figures and later reported worldwide figures: they indicate that the film earned $21 million in North America and $11 million overseas from the initial release, and added a further $9 million in North America and $8 million overseas from subsequent re-releases up to 1956.}} * * In: . were in fact worldwide rental grosses, so it is possible this is also true of Unconquered.}} * s 'rental' amounts are often repeated, but have no basis in the reality of what the films actually earned—they are hypothetical figures conceived for comparative analysis. All five Cinerama features collectively generated $120 million in worldwide box office receipts. . "The commercial success of the five Cinerama travelogues, which earned an aggregate worldwide box-office gross of $120 million by 1962 (including $82 million in the United States and Canada), nevertheless demonstrated to the mainstream industry the market value of special screen formats."}} * ) a year after its release; however, Birchard puts its earnings at just over $15 million up to 1962. It is likely that Birchard's figure is just the North American gross rental, and includes revenue from the 1954 and 1960 reissues.}} * * }} Timeline of highest-grossing films At least ten films have held the record of 'highest-grossing film' since The Birth of a Nation assumed the top spot in 1915. Both The Birth of a Nation and Gone with the Wind spent twenty-five consecutive years apiece as the highest-grosser, with films directed by Steven Spielberg holding the record on three occasions and James Cameron—the current holder—twice. Spielberg became the first director to break his own record when Jurassic Park overtook E.T., and Cameron emulated the feat when Avatar broke the record set by Titanic. Some sources claim that The Big Parade superseded The Birth of a Nation as highest-grossing film, eventually being replaced by Snow White and the Seven Dwarfs, which in turn was quickly usurped by Gone with the Wind. Exact figures are not known for The Birth of a Nation, but contemporary records put its worldwide earnings at $5.2 million as of 1919. s total rental at $50 million. (This reflects the total amount paid to the distributor, not box-office gross.) This 'trade legend' has finally been acknowledged by Variety as a 'whopper myth', and the amount has been revised to $5 million. That figure seems far more feasible, as reports of earnings in the Griffith collection list gross receipts for 1915–1919 at slightly more than $5.2 million (including foreign distribution) and total earnings after deducting general office expenses, but not royalties, at about $2 million.}} Its international release was delayed by World War I, and it was not released in many foreign territories until the 1920s; coupled with further re-releases in the United States, its $10 million earnings as reported by Variety in 1932 are consistent with the earlier figure. Cited in At this time, Variety still had The Birth of a Nation ahead of The Big Parade ($6,400,000) on distributor rentals and—if its estimate is correct—''Snow White and the Seven Dwarfs'' ($8,500,000) would not have earned enough on its first theatrical run to take the record; . "By the end of 1938, it had grossed more than $8 million in worldwide rentals and was ranked at the time as the second-highest-grossing film after the 1925 epic Ben-Hur". although it would have been the highest-grossing 'talkie', . "Walt Disney took a big risk when he decided to invest $1.5 million in his first feature-length animated film, Snow White and the Seven Dwarfs. It became the biggest hit of the sound era and the largest-grossing movie since The Birth of a Nation – until the release of independent producer David O. Selznick's Gone with the Wind just two years later." displacing The Singing Fool ($5,900,000). Although received wisdom holds that it is unlikely The Birth of a Nation was ever overtaken by a silent-era film, the record would fall to 1925's Ben-Hur ($9,386,000) if The Birth of a Nation earned significantly less than its estimated gross. . "MGM's silent Ben-Hur, which opened at the end of 1925, had out-grossed all the other pictures released by the company in 1926 combined. With worldwide rentals of $9,386,000 on first release it was, with the sole possible exception of The Birth of a Nation, the highest-earning film of the entire silent era." In addition to its gross rental earnings through public exhibition, The Birth of a Nation played at a large number of private, club and organizational engagements which figures are unavailable for. It was hugely popular with the Ku Klux Klan who used it to drive recruitment, and at one point Variety estimated its total earnings to stand at around $50 million. Despite later retracting the claim, the sum has been widely reported even though it has never been substantiated. While it is generally accepted that Gone with the Wind took over the record of highest-grossing film on its initial release—which is true in terms of public exhibition—it is likely it did not overtake The Birth of a Nation in total revenue until a much later date, with it still being reported as the highest earner up until the 1960s. Gone with the Wind itself may have been briefly overtaken by The Ten Commandments (1956), which closed at the end of 1960 with worldwide rentals of $58–60 million . "General release began at normal prices in 1959 and continued until the end of the following year, when the film was temporarily withdrawn (the first of several reissues came in 1966). The worldwide rental by this time was around $60 million. In the domestic market it dislodged Gone with the Wind from the number one position on Variety s list of All-Time Rentals Champs. GWTW had hitherto maintained its lead through several reissues (and was soon to regain it through another in 1961)." compared to Gone with the Wind's $59 million; if it did claim the top spot its tenure there was short-lived, since Gone with the Wind was re-released the following year and increased its earnings to $67 million. Depending on how accurate the estimates are, the 1959 remake of Ben-Hur may also have captured the record from Gone with the Wind: as of the end of 1961 it had earned $47 million worldwide, and by 1963 it was trailing Gone with the Wind by just $2 million with international takings of $65 million, ultimately earning $66 million from its initial release. . "Worldwide rentals: $66.1 million (initial release)" Another film purported to have been the highest-grosser is the 1972 pornographic film, Deep Throat. In 1984, Linda Lovelace testified to a United States Senate Judiciary Subcommittee on juvenile justice that the film had earned $600 million; this figure has been the subject of much speculation, since if it is accurate then the film would have made more money than Star Wars, and finished the 1970s as the highest-grossing film. The main argument against this figure is that it simply did not have a wide enough release to sustain the sort of sums that would be required for it to ultimately gross this amount. Exact figures are not known, but testimony in a federal trial in 1976—about four years into the film's release—showed the film had grossed over $25 million. Roger Ebert has reasoned it possibly did earn as much as $600 million on paper, since mobsters owned most of the adult movie theaters during this period and would launder income from drugs and prostitution through them, so probably inflated the box office receipts for the film. The Birth of a Nation, Gone with the Wind, The Godfather, Jaws, Star Wars, E.T. and Avatar all increased their record grosses with re-releases. The grosses from their original theatrical runs are included here along with totals from re-releases up to the point that they lost the record; therefore the total for The Birth of a Nation includes income from its reissues up to 1940; the total for Star Wars includes revenue from the late 1970s and early 1980s reissues but not from the 1997 Special Edition; the total for E.T. incorporates its gross from the 1985 reissue but not from 2002; the total for Avatar—as the current record-holder—includes all its earnings at the present time. Gone with the Wind is represented twice on the chart: the 1940 entry includes earnings from its staggered 1939–1942 release (roadshows/first-run engagements/general release) along with all of its revenue up to the 1961 reissue prior to losing the record to The Sound of Music in 1966; its 1971 entry—after it took back the record—includes income from the 1967 and 1971 reissues but omitting later releases. The Godfather was re-released in 1973 after its success at the 45th Academy Awards, and Jaws was released again in 1976, and their grosses here most likely include earnings from those releases. The Sound of Music, The Godfather, Jaws, Jurassic Park and Titanic increased their earnings with further releases in 1973, 1997, 1979, 2013 and 2012 respectively, but they are not included in the totals here since they had already conceded the record prior to being re-released. * ||Includes revenue from re-releases. If a film increased its gross through re-releases while holding the record, the year in which it recorded its highest gross is also noted in italics.}} }} Highest-grossing franchises and film series Prior to 2000, only seven film series had grossed over $1 billion at the box office: James Bond, Star Wars, Indiana Jones, Rocky, Batman, Jurassic Park and Star Trek. Since the turn of the century that number has increased to over forty, excluding one-off hits such as Avatar, Titanic, Frozen and Alice in Wonderland. This is partly due to inflation and market growth, but also to Hollywood's adoption of the franchise model: films that have built-in brand recognition, such as being based on a well known literary source (The Lord of the Rings) or an established character (Indiana Jones). The methodology is based on the concept that films associated with things audiences are already familiar with can be more effectively marketed to them, and as such are known as "pre-sold" films within the industry. The ''Harry Potter'' series has grossed the most, amassing nearly $8 billion over eight films at the box office, although the Eon James Bond series is the highest grossing when adjusted for inflation, with a total of over $13 billion at 2011/12 prices. Harry Potter has also generated at least $3.5 billion in home video revenue, taking total consumer spending on the films to over $11 billion. If ancillary income from merchandising is included, then Star Wars is the most lucrative franchise, earning more than $22 billion in total, with direct income from the films themselves accounting for just one third of overall revenues. In nominal terms, Harry Potter is also the most consistent franchise, averaging at around $965 million with each film earning in excess of $790 million, while the most consistent series is Peter Jackson's Middle-earth adaptation, with the first five films averaging about $980 million and each film earning over $870 million; adjusted for inflation they have performed similarly to Star Wars, averaging over $1 billion per film. : |Saturday=1 |Sunday=2 |Monday=3 |Tuesday=4 |Wednesday=5 |Thursday=6 |0}}}}.|text= }} |- | colspan="6" | |- | colspan="6" | |total= +263427551+ + +1518594910+586167000}}|number=10|highest=The Avengers|gross=1518594910|release=2 | | |number=4|highest=Iron Man 3|gross=1215439994|release=2/4 |Iron Man 3 ''(2013) |1215439994 |Captain America: The Winter Soldier ''(2014) |714083572 |Thor: The Dark World ''(2013) |644783140 |Guardians of the Galaxy ''(2014) |586167000 }} }} |- | colspan="6" | + 64600000+ + + + + 41744718+160000000}} |number=25|highest=Skyfall|gross=1108561013 | + 64600000+ + + + }} |number=23|highest=Skyfall|gross=1108561013 | | | | | | }} | | }} |- | colspan="6" | + +30471420}}|number=6|highest=The Lord of the Rings: The Return of the King|gross=1119929521 | + }}|number=5|highest=The Lord of the Rings: The Return of the King|gross=1119929521 | | }} | }} |- | colspan="6" | + +68282844}}|number=7|highest=Star Wars Episode I: The Phantom Menace|gross=1027044427 | | | }} |- | colspan="6" | |total= + }}|number=5|highest=Spider-Man 3|gross=890871626|release=y | | |number=2|highest=The Amazing Spider-Man|gross=757930663|release=2 |The Amazing Spider-Man ''(2012) |757930663 |The Amazing Spider-Man 2 ''(2014) |708294944 }} }} |- | colspan="6" | +82102379+ +5617391+1700000}}|number=10|highest=The Dark Knight Rises|gross=1084439099 | | +82102379}}|number=5|highest=Batman|gross=411348924 | | }} | | |total=1700000}} }} |- | colspan="6" | |total= +5849647}}|number=5|highest=Transformers: Dark of the Moon|gross=1123794079|release=y | |number=4|highest=Transformers: Dark of the Moon|gross=1123794079|release=2 |Dark of the Moon ''(2011) |1123794079 |Age of Extinction ''(2014) |1077734000 |Revenge of the Fallen ''(2009) |836303693 |Transformers ''(2007) |709709780 }} | }} |- | colspan="6" | |- | colspan="6" | +554987477}}|number=5|highest=Shrek 2|gross=919838758 | | }} |- | colspan="6" | |- | colspan="6" | |number=7|highest=X-Men: Days of Future Past|gross=745389166|release=1 |Days of Future Past ''(2014) |745389166 |The Last Stand ''(2006) |459359555 |The Wolverine '' (2013) |414828246 |X2 ''(2003) |407711549 |X-Men Origins: Wolverine ''(2009) |373062864 |First Class ''(2011) |353624124 |X-Men ''(2000) |296339527 }} |- | colspan="6" | |- | colspan="6" | |- | colspan="6" | |- | colspan="6" | |- | colspan="6" | |- | colspan="6" | |- | colspan="6" | |Toy Story ''(1995) |361958736 |Toy Story/Toy Story 2 ''(3D) |32284600 }} |- | colspan="6" | + + }}|number=12|highest=Star Trek Into Darkness|gross=466978661 | | | }} |- | colspan="6" | |- | colspan="6" | +14296438+391081192+668045518}}|number=7|highest=Man of Steel|gross=668045518 | | +14296438}}|number=5|highest=Superman|gross=300218018 | | |total=14296438}} }} | }} |- | colspan="6" | |- | colspan="6" | |total= }}|number=8|highest=Dawn of the Planet of the Apes|gross=641682000|release=y | |total= }}|number=3|highest=Dawn of the Planet of the Apes|gross=641682000|release=y | |number=2|highest=Dawn of the Planet of the Apes|gross=641682000|release=1 |Dawn of the Planet of the Apes ''(2014) |641682000 |Rise of the Planet of the Apes ''(2011) |481801049 }} | }} | |total=160000000|number=5|highest=|gross= |Planet of the Apes ''(1968) | TBD |Beneath the Planet of the Apes ''(1970) | TBD |Escape from the Planet of the Apes ''(1971) | TBD |Conquest of the Planet of the Apes ''(1972) | TBD |Battle for the Planet of the Apes ''(1973) | TBD }} }} |- | colspan="6" | |} * * }} References ;Box-office sources ; Franchise and series sources * * Batman ** ** ** * * * * Indiana Jones ** Initial releases: ** Raiders of the Lost Ark (including reissues): * * James Bond ** ** (Connery, Lazenby, Moore and Dalton). "James Bond Franchise Films: All-Release Worldwide Box Office." ** ** * * * * * * * * Planet of the Apes **21st Century films: **20th Century films: ***First four films: . ***''Battle for the Planet of the Apes'': * * * * Star Wars ** ** ** ** ** ** ** * Superman **''Superman'', Superman Returns and Man of Steel: ** **''Superman II'', Superman III and Superman IV: *** . "Superman Franchise Films: All-Release Worldwide Box Office Revenues vs. Production Costs – Equivalent 2005 $s." *** . "Notes on Adjusting Dollars and Making Estimates – Adjusting Revenues." *** * Tolkien's Middle-earth ** * Toy Story ** ** * * The Twilight Saga ** ** * }} ;Bibliography * * * External links * * * * * Category:Record progressions *